Kevin Llewellyn Callan (born 24 March 1962), better known as Stewart Home,
is an English artist, filmmaker, writer, pamphleteer, art historian,
and activist. He is best known for his novels such as the non-narrative 69 Things to Do with a Dead Princess (2002), his re-imagining of the 1960s in Tainted Love (2005), and earlier parodistic pulp fictions Pure Mania, Red London, No Pity, Cunt, and Defiant Pose that pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art.

Life and work

Home was born in South London. His mother, Julia Callan-Thompson, was a model who was associated with the radical arts scene in Notting Hill Gate. She knew such people as the writer and Situationist Alexander Trocchi.[citation needed]
In the 1980s and 1990s, he exhibited art and also wrote a number of
non-fiction pamphlets, magazines, and books, and edited anthologies.
They chiefly reflected the politics of the radical left, punk culture, the occult, the history and influence of the Situationists – of whom he is a severe critic[citation needed] – and other radical left-wing 20th century anti-art avant-garde movements. In Home's earlier work, the focus of these reflections was often Neoism,
a subcultural network of which he had been a member, and from which he
derived various splinter projects. Typical characteristics of his
activism in the 1980s and 1990s included use of group identities (such
as Monty Cantsin) and collective monikers (e.g. "Karen Eliot"); overt employment of plagiarism; pranks and publicity stunts.

1970s

As a youth Home was drawn first to music and bohemianism, and then to radicalism.[citation needed] He attended meetings of many different leftist groups including several organised by the Trotskyist Socialist Youth League and even two editorial meetings of Anarchy Magazine. He refused to join any of these organisations and later repudiated them as reactionary, instead professing autonomous communist
political positions after going to London Workers Group. In the late
seventies Home produced his first punk (music) fanzines including early
issues of "Down in the Street" which had run to seven numbers by the
time he stopped publishing it in 1980. At the end of the seventies Home
also made his first public appearances as a musician most notably as
bassist with revolutionary ska band The Molotovs.
The latter group mixed covers of classic reggae numbers like 'Johnny
Too Bad' with original tunes such as "Notting Hill Carnival" (about
rioting) and 'Don't Envy The Boss' (the juvenile irony of the chorus ran
to: "don't envy the boss, I know he's got a lot, but he really really
earned the money to pay for his yacht”).

1980s

From 1982 to 1984, Home operated as a one-person-movement "Generation Positive", and having already founded a punk band called White Colours
(named after an experimental novel by R. D. Reeve) in 1980, he started a
new group with the same name in 1982. He also published an art fanzine SMILE, the name of which was a play on the Mail Art zines FILE and VILE
(which in turn parodied the graphic design of LIFE magazine). The
concept was that many other bands in the world should call themselves White Colours, and many other underground periodicals should call themselves SMILE, too. Home's early SMILE
magazines mostly contained art manifestos for the "Generation
Positive", which in their rhetoric resembled those of 1920s Berlin Dadaist manifestos.
In April 1984, Home got in touch with the originally American subcultural artistic network of Neoism,
and participated in the eighth Neoist Apartment Festival in London.
Since Neoism operated with multiple identities, too, and called upon all
its participants to adopt the name Monty Cantsin, Home decided to give up the "Generation Positive" in favor of Neoism, and make SMILE
and White Colours part of Neoism as well. According to Florian Cramer
(who didn't come into contact with Neoism until the late eighties) one
year later, Home took a sleep-deprivation prank played with him at a
Neoist Festival in Italy as the reason to declare his split from Neoism;
Home insists he decided to break with Neosim before going to Italy.
Shortly before, a conflict between him and Neoism founder Istvan Kantor had escalated and led to their alienation.
Home's SMILE no 8, which appeared in 1985, reflected the split with Neoism by proposing a "Praxis" movement to replace Neoism, with Karen Eliot as its new multiple name. This and the following three SMILE
issues otherwise featured an eclectic mixture of manifesto-style
writing, political reflections on radical left-wing anti-art movements
from the Lettrist International, the Situationists, Fluxus, Mail Art, individuals such as Gustav Metzger and Henry Flynt, and short parodistic skinhead pulp prose in the style of his then unwritten early novels. Many texts included in Home's SMILE issues plagiarised other, especially Situationist, writing, simply replacing terms like "spectacle" with "glamour".
At the same time Home was involved in a series of collective
installations including "Ruins of Glamour" (Chisenhale Studios, London
1986), "Desire in Ruins" (Transmission Gallery, Glasgow 1987), "Refuse"
(Galleriet Läderfabriken, Malmö 1988) and "Anon" (33 Arts Centre, Luton
1989) which generated serious art world interest and art publication
reviews and even coverage in British newspapers such as "The Observer"
and "Independent". Those Home worked closely with on these shows
included Hannah Vowles and Glyn Banks (collectively known as Art in Ruins), Ed Baxter and Stefan Szczelkun.
Following on from this and drawing on 1980s American appropriation art, Home's concept of plagiarism soon developed into a proposed movement and a series of "Festivals of Plagiarism"
in 1988 and 1989, which themselves plagiarised the Neoist apartment
festivals and 1960s Fluxus festivals. Home combined the plagiarism
campaign with a call for an Art Strike
between 1990 and 1993. Unlike earlier art-strike proposals such as that
of Gustav Metzger in the 1970s, it was not intended as an opportunity
for artists to seize control of the means of distributing their own
work, but rather as an exercise in propaganda and psychic warfare aimed
at smashing the entire art world rather than just the gallery system.
The Art Strike campaign caused something of a rumpus in the
contemporary London art world (Home got to talk about the Art Strike at
venues such as the Institute of Contemporary Art and Victoria and Albert
Museum, as well as on national BBC Radio arts programmes and London
area television arts programmes), but was more seriously discussed in
subcultural art networks, especially in Mail Art.
Consequently, mail artists made up a reasonable proportion of the
participants at the Festivals of Plagiarism, and Mail Art publications
disseminated the Art Strike campaign.
To what extent Home actually participated in the Art Strike remains
disputed, since two of his books, completed allegedly before 1990,
appeared during the period of the strike.
In the 1980s Home was also a regular contributor to the anarcho-punk/cultural magazine VAGUE.

1990s

In 1993
Home officially resurfaced, having meanwhile gained an influence and
reputation in American counter-culture comparable to writers like Hakim Bey and Kathy Acker. Aside from reassessments of his earlier engagement with Neoism, the Situationists, punk,
and the plagiarism and Art Strike campaigns, and, as his source of
income, the continued parodistic pulp-novel writing, Home's style had
undergone some significant changes. While his late 1980s pamphleteering
could be viewed as an, albeit subtly humorous, project to collect and
fuse radical energies from aesthetically uncompromising extreme
left-wing fringes of art and politics, Home reinvented himself in the
1990s as a cynical satirist and jester.
In the post-Art Strike years, he had for the first time publicly occupied himself with hermeticism and the occult.
The Neoist Alliance, his third one-person-movement after The Generation
Positive and Praxis, served simultaneously as a tactical
reappropriation of the Neoism label for self-promotional purposes, and
as a corporate identity for pamphlets that satirically advocated a
combination of artistic avant-garde, the occult, and politics into an
"avant-bard". Meanwhile, Home continued to be courted by the London art
world, and in the mid-nineties in particular he was championed by the
young and very fashionable artist-curator Matthew Higgs
(who at that time was also playing a significant role in propelling
future Turner Prize winners Jeremy Deller and Martin Creed into the
public eye).
Higgs included Home in group shows he curated – such as "Imprint 93"
at City Racing (London June–July 95), "Multiple Choice" at Cubitt
Gallery (London March–April 96) and "A to Z" at Approach Gallery (London
1998) – as well issuing a pamphlet and later a badge by Home as part of
his prestigious edition of Imprint 93 multiples. At this time uber
curator Hans Ulrich Obrist also included Home in his survey of young
British art "Life/Live" Musée d’art Moderne de la Ville de Paris
(October 96- January 97, subsequently toured). In the mid-nineties Home
was also appearing regularly as a live artist at "Disobey" events
organised by Paul Smith and featuring music from the likes of techno
acts Panasonic and Aphex Twin.

2000s

Aware of
the marked decline in countercultural activities throughout the urban
centres in which he operated, Home shifted gear in this area of his work
in the new millennium, upping his level of Internet activities; web
work had been only a minor part of his repertoire in the 1990s. Aside
from running his own website, Home is a dedicated blogger and had six
separate MySpace profiles (as well as having active accounts with other
social networking sites such as Twitter, YouTube, Flickr and Facebook).
However, given Home's extrovert personality, he maintains a taste for
live appearances and in 2007 began performing ventriloquism in public.
This activity was preceded by Internet ventriloquism using two
MySpace profiles as Mister Trippy and a ventriloquist doll called Tessie
(who often claimed to be pregnant and became very angry when Home
suggested dolls can't become pregnant). Home's novels in this period no
longer incorporated subcultural elements and instead focused on issues
of form and aesthetics: 69 Things to Do with a Dead Princess contains capsule reviews of dozens of obscure books as well as elaborate descriptions of stone circles, while in Down and Out in Shoreditch & Hoxton
every paragraph is exactly 100 words long. At times in this period
Home's film making also became radically non-representational, and
rarely required any original cinematography whatsoever; for example his
2002 fiftieth anniversary English language colour re-make of "Screams in
Favour of De Sade", and 2004 "Eclipse & Re-Emergence of the Oedipus
Complex", the latter consists solely of still photographs of his mother
with a narration scripted by Home but delivered by Australian actress
Alice Parkinson.
This tendency towards abstraction was already evident in some of
Home's work of the 1990s, particularly sound pieces such as the cut up
radio play "Divvy", but in the 2000s it became increasingly central to
his output. This ran parallel to Home's increasing acceptance by various
sections of the high brow art world, evidenced for example by the fact
that in 2006 he produced an exhibition entitled "Hallucination
Generation" at the prestigious Arnolfini in Bristol, won a major Arts
Council/BBC commission "London Art Tripping" and he was editor of the
Semina series for art book publisher Book Works in London (2007–2010);
as well as being writer-in-residence at the Tate Modern in London
(2007/08). However, Home combines these activities with a critique of
the institution of art.

Neoist Alliance

The Neoist Alliance was a moniker used by Home between 1994 and 1999 for his mock-occult psychogeographical
activities. According to Home, the alliance was an occult order with
himself as the magus and only member. The manifesto called for
"debasement in the arts" and in a parodic manner plagiarized a 1930s
British fascist pamphlet on cultural politics. Alliance activities
mainly consisted of the publication of a newsletter "Re-action" which
appeared in ten issues.
In 1993, the Neoist Alliance staged a prank against a concert by composer Karlheinz Stockhausen in Brighton by announcing its intention to levitate the concert hall by magical means during the concert. This was an homage to the 1965 anti-art picketing of a Stockhausen concert in New York by Fluxus members Henry Flynt and George Maciunas.
Alliance activities ran parallel and were closely related to those of the revived London Psychogeographical Association and the Italian-based Luther Blissett project.
Despite its name, the Neoist Alliance had no affiliation with the international Neoist network
which had been active since 1980. Stewart Home had previously become a
member and activist of that network in 1984, but renounced it one year
later and subsequently worked under the collective monikers of "Praxis",
later "plagiarism" and the Art Strike movement.

Books

Home's first books, which appeared between 1988 and 1995, are essentially an outgrowth and elaboration of his earlier SMILE writings, though without their fragmentary-aphoristic character and eclectic mix of genres. The Assault on Culture,
written when Home was twenty-five, is an underground art history
sketching Home's ultimately personal history of ideas and influences in
post-World War II fringe radical art and political currents, and
including – for the first time in a book – a tactically manipulated
history of post-war culture to make it conclude with Neoism (and which
it is sometimes claimed includes character assassinations of individual
Neoists) that was continued in the later book Neoism, Plagiarism and Praxis.
Despite its highly personal perspective and agenda, The Assault on Culture: Utopian currents from Lettrisme to Class War (Aporia Press and Unpopular Books,
London, 1988) is considered a useful art-history work, providing an
introduction to a range of cultural currents which had, at that time at
least, been under-documented. Like Home's other publications of that
time, it played an influential part in renewing interest in the
Situationist International.[citation needed]Pure Mania, Home's first novel from 1989, took the recipe of the Richard Allen parodies from SMILE
and turned them into a recipe for much of his subsequent novel writing
of the 1990s (there are exceptions such as the non-linear "Come Before
Christ & Murder Love"). The book Neoist Manifestos/The Art Strike Papers featured, on its first part, abridged versions of Home's manifesto-style writings from SMILE,
and a compilation of writings and reactions regarding the Art Strike
from various authors and sources, mainly Mail Art publications.
His 1995 novel Slow Death fictionalises and ridicules this process of the historification of Neoism (including the planting of archives at the National Art Library in the Victoria and Albert Museum;
this recently became reality when Home sold the V&A his own archive
documenting twenty years of his art and underground activities
including those involving Neoism) as if to give his own game away but,
typically with Home, as soon as one agenda has, apparently, been
exposed, whether Home's own or one at large, the game moves on so that
he constantly forces readers into a position of 'Should I believe any of
this?'.
With the publication of his novel 69 Things to Do with a Dead Princess
(Canongate, Edinburgh 2002), Home finally got the British literary
press sitting up and taking serious notice of him, ironically for a book
which carries his most acidic condemnations of the literary
establishment. Home's skinhead looks and attitude on official
photographs of the mid-nineties are merely publicity poses, and recently
he has been much more inclined to appear nude in publicity material
(this started after Home consented to appear in a nude celebrity feature
for a Finnish newspaper in 2004); and this nudity is something that
offends just as much as Home's earlier faked 'hard man' looks.

Repression in Russia

Alex Kervey of T-ough Press, publishers of the Russian edition of Come Before Christ and Murder Love has reported repression
of the book as "pornography and insulting Christian values". Kervey
says this is happening in the context of a campaign run by such
far-right groups as the National Bolsheviks against Home, which has included arson attacks against T-ough Press alongside state censorship.

" A straightforward
account of the vanguards that followed Surrealism: Letlrisme, fluxus,
Neoism and others even more obscure" Village Voice.

"Home's book
is the first that I know of to chart this particular 'tradition' and to
treat it seriously. It is a healthy corrective to the overly
aestheticised view of 20th century avant-gorde art that now prevails."
City Limits.

" Much of the information is taken from obscure
sources and the book is essential reading for anyone interested in the
subject. It demystifies the political and artistic practices of
opponents to the dominant culture and serves as a basic reference for a
field largely undocumented in English. It is also engagingly honest,
unpretentious, questioning and immediate in its impact" Artists
Newsletter.

"Reflecting the uncategorisable aspect of art that
hurls itself into visionary politics, the book will engage political
scientists, performance artists and activists" Art and Text.

" Apocalyptic in the literal sense of the word: an uncovering, revelation, a vision" New Statesman.

" A concise introduction to a whole mess of troublemakers through the ages... well written, incisive and colourful" NME.

Stewart Home was born in south London in 1963. When he
was sixteen he held down a factory job for a few months, an experience
that led him to vow he'd never work again. After dabbling in rock
journalism and music, in the early eighties he switched his attention to
the art world. Now Home writes novels as well as cultural commentary,
and he continues to make films and exhibitions. His website can be found
at: stewarthomesociety.org/

External Links

'what I want to do is tell you the
complete and true story of my life, so you can understand me as an
ordinary working-class man who acted as he did because of extraordinary
circumstances'

• The 9 Lives of Ray The Cat Jones is the exciting new novel by writer, artist and performer Stewart Home.

• It tells the story of the life of Ray 'The Cat' Jones, who nearly
became middleweight boxing champion of the world but instead went on to
become the greatest cat burglar of all time and made one of the most
notorious prison escapes in British history.

• Ray is a tee-total, fitness obsessed, working-class Welshman whose
boxing ambitions were thwarted when he was set up by a corrupt cop and
sent to prison for a crime he didn't commit, setting him on a path of
revenge and a crusade against the inequalities and injustices of
British society. Ray is a modern Robin Hood waging an ideological class
war against the rich.

• From the jewels of movie stars Elizabeth Taylor and Sophia Loren,
to the private papers of the Duke of Windsor, paintings by Rubens and
Rembrandt, and the furs of the London aristocracy, Ray's carefully
targeted burglaries are perfectly planned and thrillingly executed.

• Part biography, part true crime story, part political manifesto,
the novel combines Home's typically sharp social and political comment
with a fascinating, highly personal story of a life of crime and
punishment. Ray was, it emerges, the cousin of Home's mother.

• Ray is a thief with an 'extensive knowledge of radical history',
highly articulate in his revolutionary call for social change. Through
his shrewd and hilarious narration, combining cockney rhyming slang
with theoretical discourse, his life story becomes a political protest
and a call for action, in which Ray rubs shoulders with the likes of
the legendary Kray Twins and Mad Frankie Fraser.

• The 9 Lives of Ray The Cat Jones is a great London novel, a
vision of the city's underworld from wartime to the present. It moves
between the clubs of Soho, populated by gangsters and gamblers, to the
wealthy mansions of Kensington and Hampstead, inhabited by corrupt
politicians and millionaires, and inside the walls of the city's
prisons.

• The novel is in many ways a departure for Home; formally more
traditional that his avant-garde 'anti-novels', nonetheless it plays
with the traditions of biographical writing, blurring the lines between
real life and fiction, biography and autobiography.
• It is as funny and astute as anything Home has written.
Its compelling amalgamation of the genres of biography, crime thriller,
historical fiction, satire and political protest novel will appeal to
Home's many followers, while attracting a wide new range of readers. To
the uninitiated, it is a perfect way in to the unique world of Home's
writing.

Praise for Stewart Home• 'I really don't think anyone who is at all interested in
the study of literature has any business not knowing the work of
Stewart Home.' - London Review of Books.
• 'Stewart Home is one of our most important and interesting
novelists. His work has been termed 'avant-garde', but it is much more
ambitious than that, as honest as it is unique.' – New Statesman.About Stewart Home• Stewart Home is an artist, filmmaker, novelist and
activist. Over his 30-year career he has worked in a variety of media
including performance, music, film, writing, installation and graphics.
• He is the author of the novels Pure Mania, Defiant Pose, Blow Job,
69 Things To Do With a Dead Princess, Memphis Underground, Down &
Out in Shoreditch & Hoxton, Blood Rites of the Bourgeoisie, and Mandy, Charlie & Mary Jane, among others. He has also published a number of non-fiction books, and was editor of the acclaimed Book Works series Semina.

• Home was the recipient of a Paul Hamlyn Foundation award in 2013,
in recognition of his work as a visual and performance artist.

About Test Centre
• Test Centre is an independent publishing house and record label
based in Hackney, with an interest in the spoken and written word. The
label's first release was Stone Tape Shuffle, a spoken word vinyl LP with Iain Sinclair, followed by Chris Petit's Museum of Loneliness, and Stewart Home's Proletarian Post-Modernism.

• As a publisher, Test Centre has published 4 issues of its fiction
and poetry magazine. Other publications include a number of books and
pamphlets by Iain Sinclair including Austerlitz & After: Tracking Sebald and RED EYE; GOOGLEmeGOD and House of Memory by Chris Petit; a facsimile edition of Derek Jarman's rare and only collection of poetry, A Finger in the Fishes Mouth; the poetry anthology I Love Roses When They're Past Their Best; and Within Habit by Oli Hazzard.

Launch event for The 9 Lives of Ray The Cat Jones
• There will be a launch for The 9 Lives of Ray The Cat Jones on
Thursday 6 November at The Function Room gallery at The Cock Tavern.
This will also mark the closing of Stewart's exhibition with Chris
Dorley-Brown, The Age of Anti-Ageing, which opens at the gallery on 16
October. http://functionroom.co/antiage/index.html

• The Function Room is upstairs at The Cock Tavern, 23 Phoenix Road,
London NW1 1HB. The event is unticketed and starts at 6.30pm. More
details will be available on the events page of our website.

Charlie Templeton, his wife Mandy, and
student mistress Mary-Jane Millford survived the London terrorist
bombings of 7/7, but history has yet to be made. To save the future of
western civilization, Charlie, a schizoid cultural studies lecturer
with a penchant for horror films and necrophilia, must fight the
zombies of university bureaucracy and summon the will to become the
last in a long line of mad prophets announcing the end of art.

"Notwithstanding the appearance of several of Home's
trademark riffs, for a good long while it looks as though Home is
going to disregard his own disregard for the conventions of polite
fiction and actually write something that looks like a satirical
novel... Home sets about his prey with extraordinary glee. The
dialogue between the lecturer and his students is extraordinarily
funny – in fact, there are chunks of this book that count as the best
contemporary comic writing I've come across since Howard Jacobson."
Nicholas Lezard, The Guardian.
"Of course, it’s a masterpiece. Throughout there’s a process
of shedding the scales of his insides in an act of hilarious, up-beat
and hay-making desquamation. The names dropped are the pieces of wood
pulp that he turns into the paper, the fine particles that end up as
the final word. And if ‘Zombie Sex Freaks’ doesn't curl your hair
some, then a) you need to check your pulse and b) go away. Home’s
writing is the sexiest around." Richard Marshall, 3AM Magazine.
"Stewart Home’s latest novel, Mandy, Charlie & Mary-Jane, is a brilliant satire on academia that begins simply enough then slowly devolves into a blood bath…" Michael Roth, Opsonic Index.
"The simplicity of the prose in Mandy, Charlie & Mary-Jane belies
the book’s theoretical complexity and the multi-layered functions. It
was, of course, ever thus in Home’s work. While he has often taken an
idea and run it into the ground over the course of a novel, Mandy, Charlie and Mary Jane
proves that Home is, if anything, growing more ambitious and more sharp
in his dismantlement of contemporary culture, and stands as a
veritable explosion of ideas. As contemporary fiction continues to slide
evermore into formulaic banality, Home’s writing seems more essential
than ever." Edward S. Robinson, Paraphilia Magazine.
"Stewart’s Home’s new book, Mandy, Charlie & Mary-Jane,
follows Charlie Templeton, a crack-smoking and possibly schizophrenic
lecturer in cultural studies at City University of Newcastle on Tyne
(CUNT). Between conducting rubbish seminars on Cannibal Holocaust and the Beverly Hillbillies,
Charlie finds time to make love to his sleeping wife (Mandy) and
unconscious mistress (Mary-Jane), bungle numerous attempts at date rape,
put down a local terrorist cell, and expel the only student in his
department insolent enough to complete assignments on time." Eugenie
Kraftte, Richardson Magazine.
"The works of Stewart Home are often morally devoid. This
isn't something the author particularly aspires towards, they’re just
by-products of the avant filters he applies to his art." Benjamin
Lovegrove, Glass Magazine.
"The word anti-novel is always used when a novel by Home is
reviewed, talked about, considered, analysed (and he is reviewed in
erudite journals and newspapers; the London Review of Books, the Guardian, the New Statesman
to name a few, he must be famous, egotistical notoriety is probable his
second name, his not intrinsic nature). But what is the anti-novel?
It is a question that is vexing…. So what is the message, unless one
casts the book aside after the first page, but then the message has
already sunk in (literally), this reader is already the zombie that
Home describes, the living dead reading to pass the time, reading
because a good story satiates limitation, for this reader there is no
message, this reader is the message? And if one does not cast it
aside, one ponders and thinks, what one finds is that the anti-novel
is an insolent challenge to everything that one knows; a work filled
with plagiarism and appropriation, it flouts a society that cherishes
the notion of individuality and originality…" Barbara Adair, Sensitive Skin Magazine.

Stewart Home is the internationally-acclaimed author of "Red London",
"69 Things to Do with a Dead Princess" ("Canongate", 2002), "Down and
Out in Shoreditch and Hoxton" ("Do-Not Press", 2004) and "Tainted Love"
("Virgin Books", 2005), among others. His new book, "Memphis
Underground", documents his obsessions with Soul music and the theory
and practice of art while marking another step up in his progress as one
of the country's most fascinating avant-garde writers.

"Home is a novelist, art agitator, and documenter of art terrorism... The art terrorist's art terrorist." —Modern Review.Neoism, Plagiarism & Praxis
is concerned with what's been happening at the cutting edge of culture
since the demise of Fluxus and the Situationists. It provides inside
information on the Neoists, Plagiarists, Art Strikers, London
Psychogeographical Association, K Foundation, and other groups that are
even more obscure.

A slice-and-dice splatter novel in which time-travelling streetwalkers
hump their way from the trendy east London of today back to the skid row
mutilations of the Jack The Ripper era. As gentrification forces the
hookers from their age-old beat along Commercial and Wentworth Street,
they don Victorian widows’ weeds and ply their trade in local
graveyards. Amid these psychogeographical dislocations, warm blood isn't
the only thing that gets sucked by the night creatures who haunt Home’s
anti-narrative. This is without doubt the weirdest book ever written,
the illegitimate offspring of the Marquis De Sade balling a post-modern
literary extremist at a ladies of gangster rap convention.

As the leader of Class Justice, Steve Drummond has the London anarchist
situation in his pocket, until Swift Nick Carter makes his return to the
political scene. Unlike Drummond, Carter believes there's more to
starting a revolution than claiming the credit every time trouble breaks
out on the rundown inner city London estates. Soon Drummond finds
himself drawn into a local conflict between a crew of anarchists and a
fascist fringe where events start to get murderously personal. As the
tempo of bombings and assassinations speeds up all across London, from
Whitehall to Brixton, it becomes increasingly difficult to distinguish
the warring parties. Finally, as the plot races to its cataclysmic
conclusion, anarchism and fascism are revealed as mirror images of each
other. Stewart Home's ongoing satire of urban subcultures has never
been so fierce, furious entertaining.

A gang of socially ambitious skinheads run riot through the London art
world, plotting the rebirth and violent demise of an elusive avant-garde
art movement. Taking genre fiction for a ride, Slow Death uses
obscenity, black humor and repetition for the sake of ironic
deconstruction. The sleazy sex is always pornographic, and all
traditional notions of literary taste and depth are ditched in favor of a
transgressive aesthetic inspired by writers as diverse as Home, de
Sade, Klaus Theweleit, and 70s cult writer Richard Allen.

This is where the novel has a nervous breakdown. Anna Noon is a
twenty-year-old student with a taste for perverse sex involving an
enigmatic older man and a ventriloquist's dummy. Anna lives in Aberdeen
and her sex life revolves around the ancient stone circles in the
region.The sublime grandeur of the stones provides a backdrop against
which Anna is able to act out her provocative psychodramas.

In London, the Association of Autonomous Astronauts are expanding the
terrain of social struggle, launching an independent proletarian space
exploration programme. Future ventures shall include raves in space. In
Italy, the Bologna Psychogeographical Association are helping to
levitate government buildings and playing mind games with prime-time TV.
Meanwhile their London counterparts are busy exposing the macabre
occult practices of the British Royal Family, and Decadent Action plot
to bring capitalism to its knees through a programme of exorbitant
shopping sprees leading to hyper-inflation. Break out the champagne and
canap?s! The material collected here will turn your brain inside out,
providing the most serious challenge to consensus reality since Albert
Hoffman first synthesised LSD. Read it and you'll never be the same
again!

.

Kevin Callan is running away but the past keeps catching up with him.
That's the price he has to pay for using the occult to get his sexual
kicks while manipulating everyone around him. Sometimes Callan claims to
be the victim of a state-sponsored mind control programme, at others,
the man in charge of this whole operation. The thing is, Callan has a
thousand different identities, and a range of London apartments,
disciples, lovers, and possibly murder victims to go with the lifestyle.
Come Before Christ and Murder Love is a tale of mental disorder,
magick, London, food, thought control and human sacrifice.